Hugh Hudson

While he has not proven to be a prolific filmmaker, Hugh Hudson has directed a handful of fascinating and well-crafted movies, nearly all of which center on the theme of search for identity. On variou...
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When drag queens, rock and roll legends, murderous social climbers and tap dancing gangsters come together, it can only mean one thing: the Tony Awards. The biggest night on Broadway made its way to Radio City Music Hall Sunday night to celebrate the best and most unforgettable performances of the season, and while the show had its fair share of historical moments, show-stopping numbers and mind-blowing spectacle, the 2014 Tonys stood out for another reason – they were just plain weird.
From the moment that host Hugh Jackman hopped his way across the screen as part of the opening number it was clear that this year’s awards were going to be a memorable event, and between the impromptu rap numbers, the countless teleprompter issues and Neil Patrick Harris giving everyone a lap dance, the night only got stranger and stranger. It might be hard to believe that there's anything stranger than the idea of Barney Stinson in heels and a miniskirt or Rocky becoming a hit musical, but this year's Tonys managed to make both of those things seem downright normal with all of the confusing moments and odd numbers they unveiled, starting with that opening bit...
Hugh Jackman Bounces Back to Broadway After handing over hosting duties to Harris for the last several years, everyone was expecting Jackman to go big for his return to the Tonys stage. Instead, he went old-school, and spent four minutes hopping around Radio City Music Hall, meeting with all of the actors and checking out all of the shows, in an homage to Bobby Van’s “Take Me to Broadway.” It was a nice tribute to his love of the theater, but for an award show that prides itself on big production numbers and a host who loves a great song-and-dance moment, it was a slightly confusing, slightly underwhelming choice.
Clint Eastwood Loses the Teleprompter We’re not sure if the teleprompters weren’t working or if the champagne was just flowing a little too freely backstage, but almost every presenter struggled to get their words out (or, in Fran Drescher’s case, to read the names in the right order). However, no mispronunciations or flubbed cues held a candle to the rambling, confusing speech that Eastwood gave before giving out the directing awards. We think it had something to do with directing, the theater and the importance of remembering your glasses before you head out onstage, but we’d be lying if we said we could follow any of the nonsense he mumbled.
Neil Patrick Harris Licks Samuel L. Jackson’s Glasses Well, technically Hedwig did. During his raucous performance with the rest of the cast of Hedwig and the Angry Inch, Harris took to the audience to make Orlando Bloom take part in a “car wash,” give Sting a lap dance, and make out with his husband David Burtka. Somewhere in there, he decided to steal the glasses of the most intimidating man in the audience, thoroughly clean them with his tongue and the place them delicately back on his face. See that mix of bewilderment, fear, and excitement on Jackson’s face? That’s the only appropriate reaction to have in a situation like that.
Jackman, T.I. and LL Cool J Rap The Music Man If you’ve ever listened to a recording of The Music Man and thought that what Harold Hill really needed were some sick beats, we have some good news for you. Over a beat from Questlove, Jackman, T.I. and LL Cool J (because the Tonys air on CBS) freestyled about the hardships of making a living by selling trombones, while the older members of the audience stood there uncomfortably, looking confused and terrified.
Rocky: The Musical Is All Scrap, No Song Look, when your whole show builds to an elaborate, full-contact boxing match complete with an announcer, jumbotron and full-scale ring, you want to show off all of the hard work and preparation that went into putting that number together. Still, would it have killed the Rocky producers to have their leading man Andy Karl sing a few bars? This is the Tony Awards, after all; if we wanted to watch people fight without bursting into song, we’d switch over to Game of Thrones.
Jennifer Hudson Gets an 11 O’Clock Number (Literally) We’re all for producers using the Tonys to preview some of the shows headed to the Great White Way in the upcoming season, but that doesn’t explain why the number promoting Finding Neverland – a show that won’t open for another year, featuring a performer who isn’t even part of the cast – interrupted the biggest awards of the night and forced the producers of A Gentleman’s Guide to Love and Murder to rush through their Best Musical acceptance speech. Maybe if someone had kept Eastwood on script, Hudson’s diva moment could have come at a more appropriate point in the show. Like as a replacement for whatever dreary song Sting broke out.
Sting is Writing a Musical This one’s self-explanatory.
Who Wrote Jackman’s Bits? If nothing else, this year’s Tony Awards were an experiment to see whether a three-hour show could be carried on nothing but Hugh Jackman’s charisma. Most of his bits were a little odd, relying on his good looks and smooth voice to carry him through to the next introduction, as if the whole show were thrown together during his downtime on the X-Men press tour. The fact that everything still worked is a testament to the sheer force of Jackman’s charm, and our willingness to forgive a great deal for a well-executed soft shoe.
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Sylvester Stallone and Eddie Murphy have. So have Ryan Gosling, Anna Paquin, Kate Hudson, and Anna Kendrick. Anne Hathaway and Jonah Hill have … twice. What are we referring to? Oscar nominations. Each of these actors has had his or her name called at one time or another as a nominee for an Academy Award for acting. While there are a number of famous actors that have never won an Oscar, seemingly every performer of note has at least scored a nomination. That sounds right, doesn't it?
Not quite. While it is certain that there are plenty of actors of varying skill levels that have been nominated for an Academy Award during their career, there remains some very surprising omissions. From long-time movie veterans to great character actors to funnymen that dabble in drama, these 15 performers have amazingly never been nominated for an Oscar.
GALLERY: 15 Surprising Actors to Never Get an Oscar Nomination

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Every movie I saw in 2013, ranked from worst to best:
112. IDENTITY THIEFThe first comedy movie to not make me laugh once.
111. SAVING MR. BANKSInsulting, manipulative, dishonest, and unkind, with occasional song breaks.
110. SCARY MOVIE 5These movies have gotten much worse since we were 13.
109. GETAWAYINT. RACECAR. NIGHT. Ethan Hawke and Selena Gomez crash into stuff.
108. GROWN UPS 2So much vomiting, so many homophobic jokes, so little plot.
107. I GIVE IT A YEARAn ugly, loveless rom-com that isn't clever enough to be satire.
106. DEAD MAN DOWNAll I remember is a whole lot of dark alleyways.
105. A GLIMPSE INSIDE THE MIND OF CHARLES SWAN IIIThe best part is the closing credits (I'm not being flip, they're actually kind of fun).
104. MOVIE 43Bad offensive joke after bad offensive joke after bad offensive joke...
103. WINNIE MANDELADesperately important story turned into a desperately dull movie.
102. TWICE BORNNo summary available due to lack of anything interesting happening in this movie.
101. R.I.P.D.Somebody forgot to give Ryan Reynolds any jokes.
New Line Cinema via Everett Collection
100. THE INCREDIBLE BURT WONDERSTONEThis movie could have been funny if Wonderstone wasn't such a d**k.
99. ONLY GOD FORGIVESInteresting in the moments when it's not shoving its unpleasantness down your throat.
98. MAN OF STEELSetup: cerebral reinvention of Superman. Payoff: mass property damage.
97. CARRIEBeat-by-beat remake without any of the original's spirit.
96. THE TO DO LISTUncomfortably raunchy and mean. Thank God for Bill Hader.
95. KICK-ASS 2More Mean Girls shtick would have benefited this weak sequel.
94. PHANTOMI'm not sure this was actually a finished movie.
93. WRONGObnoxiously nonsensical, but not without its share of laughs.
92. THE SMURFS 2Mostly cloying, but Neil Patrick Harris is incurably watchable.
91. HANSEL &amp; GRETEL: WITCH HUNTERS Dumb.
90. JOBSBoring.
89. NOW YOU SEE MEPossibly the worst ending in a 2013 movie, but a few bits of fun along the way.
88. WE'RE THE MILLERS[Pop culture reference]
87. RED 2John Malkovich's facial contortions save this from total failure.
86. STAR TREK INTO DARKNESS It hsa a few pros, but is mostly one giant... well, you know.
85. RIDDICKSurprisingly intriguing, when it isn't being deplorably sexist.
84. FREE BIRDSEh, turkeys are kinda funny.
83. PRISONERS Thankfully, scenes of Hugh Jackman yelling are intercut with the far superior scenes of Jake Gyllenhaal yelling.
82. WHITE REINDEER Any minute now, this movie is going to reveal its inner glory! Any minute now!
81. EVIL DEAD A better horror flick than the original! But still mostly forgettable.
Vertical Entertainment
80. GBFMostly charming, undone by its "safe" and "classy" ending.
79. THE RELUCTANT FUNDAMENTALISTIt's kind of hard to get past how boring the title is.
78. DESPICABLE ME 2 Lots of minions. People like minions, right?
77. JOHN DIES AT THE END Not nearly as weird as it thinks it is or wants to be.
76. 2 GUNSHey, wait a minute, this movie is kinda funny! ... Not that funny, but kinda.
75. SOMEBODY UP THERE LIKES MEI like to call this movie Click Offerman.
74. WHITE HOUSE DOWNWould be more fun if we were ready to laugh about terrorism.
73. AT ANY PRICEBoooriii— HOLY S**T WHERE THE F**K DID THAT COME FROM?!
72. BAD MILONot quite up to par with your expectations for the "Ken Marino has a demon in his butt" synopsis.
71. MONSTERS UNIVERSITYLackluster prequel, nice to look at, big band music.
70. THE MORTAL INSTRUMENTS: CITY OF BONES In its audacity, this silly amalgam of YA tropes can actually be a lot of fun.
69. THE CONJURING Fascinating subplots about the exorcism industry would be better served at the head of the film.
68. PEEPLESThere's a joke about wristwatches that I still think about.
67. SIDE EFFECTSSoderbergh's farewell caper doesn't have as much fun as its loony plot would demand.
66. ELYSIUMBroad and clumsy, but how wrong can you go with Bald Matt Damon?
65. OZ THE GREAT AND POWERFULIt works with Dark Side of the Moon.
64. THE COUNSELORThe book was better. Wait, this wasn't a book? Well it should have been.
63. IN A WORLD...A fun, biting look at an unappreciated industry! ... until it dissolves into mild genericism.
62. THE LONE RANGER Oh come on, you didn't love the William Tell climax?
61. THE WOLVERINENot always engaging, but at least it's about something.
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60. WARM BODIESNot really about anything, but at least it's engaging.
59. THE BROKEN CIRCLE BREAKDOWNUndeniably powerful, but feels like it could use a few more revisions.
58. ENDER'S GAMESpace Camp: The Movie! (Slightly less expensive than actual space camp.)
57. PACIFIC RIMMonsters vs. robots aside, there's a riveting world constructed in the backdrop of this sci-fi epic.
56. ANCHORMAN 2: THE LEGEND CONTINUESThe battle royale does not disappoint.
55. YOU'RE NEXTThe fun, swift hook isn't nearly as interesting as the great character work that it replaces.
54. THE WAY WAY BACKI, too, long to get life advice from a waterpark-dwelling Sam Rockwell.
53. SOME VELVET MORNINGEven if you see the twist coming, the chemistry here is impeccable.
52. THE HUNGER GAMES: CATCHING FIREShut up, Peeta, I'm trying to watch all the good parts of this movie.
51. 20 FEET FROM STARDOMA story that deserves a little more spirit and energy than it is given in this documentary.
50. DON JONNo. 50 on "Best Movies" list, No. 1 on "Best Trailers."
49. THE ROCKETA feel-good kids' adventure substantiated by the gravities of war. Wins in both areas.
48. CRYSTAL FAIRY &amp; THE MAGICAL CACTUS AND 2012Beautifully shot, interestingly written, impressively acted.
47. MUD Yes, we all loved The Goonies, and we all loved David Wooderson, so...
46. CUTIE AND THE BOXER A vivid struggle that is equal parts artistically, martially, and internally based. Engrossing all the way.
45. CAPTAIN PHILLIPS Tom Hanks' best performance in ages in a dramatic thriller that feels real (for obvious reasons).
44. THE HOBBIT: THE DESOLATION OF SMAUG As a Legend of Zelda fan, this movie's world awakened something in me.
43. FRUITVALE STATIONThis character story is at odds with its out-universe goal, but Michael B. Jordan is unforgettable.
42. BEFORE MIDNIGHTI'm still not sure how I feel about that ending, but it was good to catch up wit Jesse and Celine.
41. DARK TOUCHEverything that Carrie could have been. A shocking fantasy about human pains.
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40. THOR: THE DARK WORLDMore Chris O'Dowd.
39. BLUE IS THE WARMEST COLORIntellectually stimulating, but doesn't hit all its emotional marks.
38. THE WORLD'S ENDI've been saying "Gooey Wooey Egg Man" for months.
37. THE GREAT GATSBYLights! Music! Pizzazz! Moxy! The bee's knees! The cat's pajamas!
36. ENOUGH SAIDBest TV drama's male lead + best TV comedy's female lead = quite a charming romantic dramedy.
35. SIGHTSEERSWell, this is rather amusi— HOLY S**T WHERE THE F**K DID THAT COME FROM?!
34. THE PLACE BEYOND THE PINESNot sure if the "three stories" approach makes for the most powerful character work, but it's an enchanting ride.
33. THE WE AND THE I A bus full of inner-city high school kids turns into a magical kingdom thanks to Gondry's dreamy edge.
32. NEWLYWEEDSA love triangle with marijuana as the third party. Weighty, but never overly so, and funny throughout.
31. GRAVITY. . .
30. PRINCE AVALANCHE Heh heh, look at Paul Rudd's mustache.
29. THE WOLF OF WALL STREET Yes, we all loved the 'ludes scene. Very, very much.
28. ALL IS LOSTRobert Redford, you still got that same oomph. You too, ocean.
27. SAVING LINCOLN The weirdest, goofiest, funniest biopic about Abraham Lincoln ever.
26. THE KINGS OF SUMMER Kids run away, live in the woods, grow up, make jokes. Always a charming endeavor.
25. AMERICAN HUSTLE Little more than a cartoon, but an emotionally explosive and riotous one at that.
24. THE HEAT Melissa McCarthy insisting on stepping out of a moving car earns a full five minutes of laughter alone.
23. DRINKING BUDDIESNever dips too low on the emotional spectrum, but stays real and fresh in the face of the rom-com genre.
22. UPSTREAM COLORA difficult, confusing, harrowing thinker.
21. STOKER Somehow both effectively haunting and deliciously fun.
Room 237: the movie/Facebook
20. ROOM 237 Less a doting tribute to The Shining or Kubrick than it is to movie-lovers and their bottomless well of theories.
19. BLUE JASMINE Each party fires on all cylinders in Woody Allen's Streetcar gem, Sally Hawkins especially.
18. S#X ACTSThe sadness of this story of our youth's desperate obsession with and reliance on sex is its authenticity.
17. IRON MAN 3 The first true action comedy in Marvel's line of films shows how much fun superhero movies can really be.
16. ESCAPE FROM TOMORROW Take notes, John Dies at the End. THIS is one weird f**king movie.
15. NEBRASKA Father vs. son, past vs. present, dreams vs. reality. Everything here is touching, funny, and inviting.
14. PAIN &amp; GAIN Michael Bay talks a long, hard look in the mirror with this biting send-up of everything his other movies represent.
13. THIS IS THE ENDFar more interesting and insightful than it will get credit for being, This Is the End uses a literal apocalypse and no dearth of d**k jokes to deconstruct tenets of friendship and social politics.
12. THE ACT OF KILLING While this documentary would benefit from restructuring, the power of its message (especially its final few monents, not to mention the "anonymous"-heavy credits) is painfully resonant.
11. FROZENOffering the magic and whimsy you'll remember from time-honored Disney classics, but so much more in the way of its message, Frozen might very well be the most magnificent and meaningful animated feature yet to spring from Walt's legacy.
10. COMPUTER CHESSIt doesn't have much to say about the human condition (beyond maybe highlighting our propensity for arrogance and self-directed delusion). It doesn't tell a story that'll stick with you for very long. But Computer Chess reigns supreme as, far and away, the funniest movie of 2013.
9. SPRING BREAKERS A dark, wicked, wholly upsetting reflection of the toxic direction in which we might be headed. And James Franco gives a tour-de-force of a performance with his demonic scoutmaster Alien.
8. IT'S A DISASTER An intelligent, meticulously directed farce about group politics and conflicting personal philosophies, executed to near perfection thanks to the rhythmic participation of a more than capable cast.
7. 12 YEARS A SLAVEAn unprecedented masterpiece that sings the traumas not only of Solomon Northrup, a free man captured and sold into slavery, but in his fellow sufferers as well. For my money, the true anchor of the story is in Lupita Nyong'o's Patsey, whose suffering is unlike anything we've seen managed on the big screen in years.
6. HER With so much to say about such tremendous topics, Her manages to still dive so deep into the heart of its story: the pangs of love in the wake of the inevitable fallibilities of romantic relationships. Joaquin Phoenix and Scarlett Johansson alike give dynamic performances, and Spike Jonze mystifies us with his strange, cold, all-too-familiar world.
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5. THE SPECTACULAR NOWThis is one of those movies you try to convince yourself to inch out of your top 10, or five, for fear of being seen as juvenile. ButThe Spectacular Now hits such genuine notes with Miles Teller's Sutter, climaxing at a moment where you'll recognize an angst so true to life and so criminally absent from most movies about the journey toward self-love.
IFC Films
4. FRANCES HA Months and months after my first encounter with it, this deceptively simple film sticks in my head, reminding me that its every artful beat is riddled with emotional weight and ironic humor alike. Greta Gerwig and director Noah Baumbach give us the a New York movie to rival Annie Hall, zooming in and out of the perspective of the young women and men who occupy, and drown within, today's version of the biggest, most stupefying city in the world.
CBS Films
3. INSIDE LLEWYN DAVISSadness, coldness, loneliness, failure... such wonderful things when handled by filmmakers like the Coen Brothers. Padding this antithesis of triumph with some of the most beautiful, somber music you'll hear all year, Inside Llewyn Davis makes us fall in love all over again with the very idea of the artistic struggle.
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2. THE WIND RISESHayao Miyazaki's final movie doesn't pass judgment on its hero, a man so devoted to his work (building weapons) that he neglects his wife, sister, and friends. It doesn't endorse these choices either. Instead, it hones in on the passions of its hero/antihero, challenging us to sympathize with a fellow whose only desire is to do his job while we lament his sacrifices. More even than Gravity does the frequently airborne animated picture induce dizzy spells as we connect with the conglomerate of colorful, intriguing characters in this grim but dainty biography.
Cinedigm via Everett Collection
1. SHORT TERM 12 There are so few flaws to highlight in The Wind Rises, Inside Llewyn Davis, Frances Ha, and the other entries on this top 10 list. What separates Short Term 12 is not a complete lack of error, but in an umatched spirit for the telling of its story. The movie wants us to feel the pains of counselor Grace (Brie Larson) and the disavantaged children for whom she cares, highlighting abused Jayden (Kaitlyn Dever) and orphan Marcus (Keith Stanfield). It also wants us to feel the hope that it brings to these characters in their plight to overcome the hands they have been dealt. Every emotion in this movie carries through with such force. For those of us who know any of these trials personally, they ring tremendously true. For others, they work to invite you into this sad but hopeful world. We've been gifted with a ton of exemplary cinematic works this year, but nothing sticks with me more than this tearful, heartrending masterpiece.
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When we last left our heroes, they had conquered all opponents in the 74th Annual Hunger Games, returned home to their newly refurbished living quarters in District 12, and fallen haplessly to the cannibalism of PTSD. And now we're back! Hitching our wagons once again to laconic Katniss Everdeen and her sweet-natured, just-for-the-camera boyfriend Peeta Mellark as they gear up for a second go at the Capitol's killing fields.
But hold your horses — there's a good hour and a half before we step back into the arena. However, the time spent with Katniss and Peeta before the announcement that they'll be competing again for the ceremonial Quarter Quell does not drag. In fact, it's got some of the film franchise's most interesting commentary about celebrity, reality television, and the media so far, well outweighing the merit of The Hunger Games' satire on the subject matter by having Katniss struggle with her responsibilities as Panem's idol. Does she abide by the command of status quo, delighting in the public's applause for her and keeping them complacently saturated with her smiles and curtsies? Or does Katniss hold three fingers high in opposition to the machine into which she has been thrown? It's a quarrel that the real Jennifer Lawrence would handle with a castigation of the media and a joke about sandwiches, or something... but her stakes are, admittedly, much lower. Harvey Weinstein isn't threatening to kill her secret boyfriend.
Through this chapter, Katniss also grapples with a more personal warfare: her devotion to Gale (despite her inability to commit to the idea of love) and her family, her complicated, moralistic affection for Peeta, her remorse over losing Rue, and her agonizing desire to flee the eye of the public and the Capitol. Oftentimes, Katniss' depression and guilty conscience transcends the bounds of sappy. Her soap opera scenes with a soot-covered Gale really push the limits, saved if only by the undeniable grace and charisma of star Lawrence at every step along the way of this film. So it's sappy, but never too sappy.
In fact, Catching Fire is a masterpiece of pushing limits as far as they'll extend before the point of diminishing returns. Director Francis Lawrence maintains an ambiance that lends to emotional investment but never imposes too much realism as to drip into territories of grit. All of Catching Fire lives in a dreamlike state, a stark contrast to Hunger Games' guttural, grimacing quality that robbed it of the life force Suzanne Collins pumped into her first novel.
Once we get to the thunderdome, our engines are effectively revved for the "fun part." Katniss, Peeta, and their array of allies and enemies traverse a nightmare course that seems perfectly suited for a videogame spin-off. At this point, we've spent just enough time with the secondary characters to grow a bit fond of them — deliberately obnoxious Finnick, jarringly provocative Johanna, offbeat geeks Beedee and Wiress — but not quite enough to dissolve the mystery surrounding any of them or their true intentions (which become more and more enigmatic as the film progresses). We only need adhere to Katniss and Peeta once tossed in the pit of doom that is the 75th Hunger Games arena, but finding real characters in the other tributes makes for a far more fun round of extreme manhunt.
But Catching Fire doesn't vie for anything particularly grand. It entertains and engages, having fun with and anchoring weight to its characters and circumstances, but stays within the expected confines of what a Hunger Games movie can be. It's a good one, but without shooting for succinctly interesting or surprising work with Katniss and her relationships or taking a stab at anything but the obvious in terms of sending up the militant tyrannical autocracy, it never even closes in on the possibility of being a great one.
3.5/5
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What’s in a name? Everything if you’re a rock star. Majority of people are born with boring, everyday names - unless, of course, you’re born to a 20th century celebrity, in which case your name is a fruit, Disney character, or another entry from the MeSoUnique dictionary. In order to be larger-than-life celebrities, these rockers opted for a larger-than-life name.
Here’s a rundown of rockers with some of the best names that their mamas don't call them by.
Marilyn Manson (Brian Hugh Warner) The artist formerly known as Brian Hugh Warner came up with his stage name by combing the names of 2 infamous icons from the 1960s: Marilyn Monroe and Charles Manson. He chose the 2 celebs because he wanted to have the “fakest stage name of all” to reflect the phoniness of show business. Well played, Brian.
Axl Rose (William Bruce Rose, Jr.) Before his name was synonymous with rock star douchebaggery, Axl Rose was called William Bruce Rose, Jr. The name we’ve all come to love and loathe him by came from the name of one of the first bands he was in when he first moved to Los Angeles: AXL. Of course, there is that whole anagram story…
Elvis Costello (Declan Patrick MacManus) Declan MacManus may sound like the name of a capo from the Westies, but it’s actually the birth name of post-punk rock god Elvis Costello. Costello took his name from his musician father’s stage name (Day Costello) and Elvis Presley.
Cat Power (Charlyn Marie Marshall) Cat Power sounds like the slogan of a felinist wanting to empower kitties everywhere, but really the indie rocker’s stage name came from a guy wearing a Caterpillar trucker cap. Power was part of a band that needed a name for their first show, and after seeing a man in a “Cat Diesel Power” hat, she knew she found the name. Though she ended up moving to New York a couple years after, the name stuck and she’s been Cat Power ever since.
Slash (Saul Hudson) Back in the 70s, when someone said “Better call Saul,” they were talking about Saul Hudson. Slash got his nickname from family friend and actor Seymour Cassel, who started calling him the name due to the fact that he was always in a hurry and never in one place for a long period of time.
Iggy Pop (James Newell Osterberg) Iggy Pop has long been called the Godfather of Punk, but his real name sounds like the name of an 80-year-old Russian history professor. After serving as the drummer for The Iguanas, Mr. Osterberg officially became Iggy. The “Pop” came after a friend of the Stooges, Jimmy Pop, lost all his hair, including his eyebrows, prompting Iggy to shave off his eyebrows in tribute and consequently being dubbed Iggy Pop.
Joe Strummer (John Graham Mellor) John Graham Mellor sure doesn’t sound like the name of the frontman of one of the original punk bands, so it’s no surprise that he changed his name. Before he was Joe Strummer, though, he went by Woody Mellor, in honor of folk legend Woody Guthrie. He used this moniker during his time with the 101’ers and a couple years before the Clash was born, changed his name to Joe Strummer. The “Joe” was to signify that he was nothing special, just a “regular joe,” and the “Strummer” pertained to his rather lackluster rhythm guitar skills.
The Cramps: Lux Interior (Erick Lee Purkhiser) &amp; Poison Ivy (Kristy Marlana Wallace) “Hi, my name is Lux Interior and this is my wife, Poison Ivy.” Few people get to drop opening lines like that, but the 2 permanent members of psychobilly pioneers the Cramps were an exception. Interior not surprisingly took his name from an old car commercial, while Ivy (who also went by Ivy Rorschach) stated the name had come to her in a dream.
Brody Dalle (Bree Joanna Alice Robinson) With a name like Bree Joanna Alice Robinson, you’re either going to become a Type A debutante who looks up to Paris Hilton, or you’re going to drop every part of your name and become one of the most hardcore lead singers of a punk rock band. Luckily for the world, Bree Robinson opted for the latter and changed her name to Brody. Before she adopted her last name from crazy/badass French actress Beatrice Dalle, however, she was known as Brody Armstrong (aka Tim Armstrong’s wife). A Rolling Stone tongue-makeout session with Josh Homme later, Brody Armstrong officially became Brody Dalle.
Sid Vicious (John Simon Ritchie) Born John Simon Ritchie, Sid Vicious went on to personify the defining aspects of punk rock – rebellion, attitude, and safety pins. The story of the Sex Pistols is one of abrupt fame coupled with an even speedier decline, and Vicious’ scandalous life and tumultuous relationship with girlfriend Nancy Spungen made for a punk rock fairytale, where there’s no such thing as a happy ending. The best part of all this, though, is that the dude was named after a hamster. After being bit by Johnny Rotten’s fuzzy, lovable hamster Sid, the then-John Ritchie said, “Sid is really vicious!,” and Rotten decided that a star was born.
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Hats off to Wired for embarking upon a scientific voyage that'll effectively bridle our enthusiasm for any nonsense about Mars having flowing rivers (this means nothing — Jersey claims part of the Hudson, but that doesn't mean it can support functional life forms). Thanks to a groundbreaking formula made by the marketing and analytics company Curalate, Wired has discovered the mathematical formula for determining the absolute perfect Pinterest photo.
As we've all endured the tireless boasts of our brunchtime companions over the auteristic sensibilities in their iPhone snapshots of rapidly cooling Denver omelettes, this discovery is sure to pique interest. Curalate has determined that the ideal (meaning most click-and-sharable) Pinterest image involves light and plentiful colors, a presence of red, little to no background, a vertical portrait style, and a deficit of human beings. So what image is so daring to uphold each of these qualifications, earning stature as the greatest Pinterest image in the long, vast history of humanity (and the slightly less long, vast history of Pinterest)?
Behold: this Paula Deen snapshot of a cucumber, tomato, and onion salad, seated neatly in a floral bowl atop a picnic table. Flawless, ain't it?
The image, appropriately titled "Aunt Peggy’s Cucumber, Tomato, and Onion Salad," has earned 307,000 repins, 8,000 likes, and over 3,000 comments, putting to shame the Alaskan salmon that your friend Chad is always proud to remind you earned him like 14 new Twitter followers. So go ahead. Rub this in Chad's hashtagging face. And thank science all the while.
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The Oscars are all about music this year, so of course we took a trip down memory lane with the best of the last 10 years of Oscar-nominated musicals. That means we got "All That Jazz" from Chicago's Catherine Zeta-Jones and "And I'm Telling You" by powerhouse American Idol reject Jennifer Hudson... and they let the cast of Les Mis play along too (video below).
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Zeta-Jones opened the tribute with a little jazz, bringing the iconic, jaunty tune from Chicago back to life. Surrounded by dancers who clearly didn't understand the choreography of Bob Fosse, Zeta-Jones reminded us that she is impervious to aging. Of course, it helps that the silver, tin foil curtains behind her look like they came straight from the '80s.
&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href="http://polldaddy.com/poll/6919284/"&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;Does Catherine Zeta-Jones still have "All That Jazz"?&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;
Hudson brought down the house, proving to those who doubted her Best Supporting Actress win for Dreamgirls that not only were they wrong, but that our girl has gotten even better (if that's even possible). When she ended her completely unadorned, yet incredible performance inspired the entire Dolby Theater to deliver a standing ovation. Then the Les Mis part began.
&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href="http://polldaddy.com/poll/6919286/"&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;How amazing was Jennifer Hudson?&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;
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The cast of Les Miserables, including Anne Hathaway, Hugh Jackman, and Eddie Redmayne, took the stage with a medley that they wisely opened with the only original song from the score, "Suddenly." Of course, they also decided to let Russell Crowe, the man who tried and failed to sing throughout the Tom Hooper film, sing with them too. How sweet. But could they match their emotional, live-singing performances from the film?
&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href="http://polldaddy.com/poll/6919259/"&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;How'd the 'Les Mis' cast do live?&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;
[Photo Credit: Kevin Winter/Getty Images]
Oscars 2013 Special Coverage
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Seth MacFarlane might've brought a little off-color humor to the opening of the 2013 Oscar ceremony, but the rest of the show was pretty uneventful, as far as live, televised events go. Amidst the parade of long-haired blonde men accepting various technical awards there were a few noteworthy acceptance speeches, though.
Miss the ceremony? Here are the most notable acceptance speeches of the night:
Ben Affleck, Best Picture, Argo
Affleck knew how late the show was running, so he began his speech at a speedy clip, frantically thanking everyone from his parents to the nations of Canada and Iran. Once he got to his wife, Jennifer Garner, and finally ticked all the boxes on his "to thank" list, though, he got introspective about his career and how his life has changed since his first Oscar win, for Good Will Hunting in 1998. "I was here 15 years ago or something, and I had no idea what I was doing. Out here in front of you all, I was just a kid. I never thought I would be back here, but I am — because of so many of you who are here tonight. You have to work as hard as you possibly can. You can't hold grudges."
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Daniel Day-Lewis, Best Actor, Lincoln
Day-Lewis is known for immersing himself into his characters, so it's hard to tell what his true demeanor is like. Surprisingly, DDL is a pretty funny guy, willing to poke fun at his method ways in the first genuinely amusing speech of the night. "I do know that I've received more than my fair share of good fortune in my life," he began, before starting with the LOLs: he joked that he'd originally been hired to play Margaret Thatcher (instead of last year's Best Actress winner, Meryl Streep, who presented the award). Check out the rest of the touching (and funny) speech:
Jennifer Lawrence, Best Actress, The Silver Linings Playbook
J-Law's most notable moment didn't come when she accepted her award, but when she tripped up the stairs while heading up to the stage to accept it. The ever-dapper Hugh Jackman and Bradley Cooper ran to assist her, but she recovered on her own. Naturally, the frequent self-deprecator opened her speech by acknowledging her fall. "You guys are just standing up because you feel bad that I fell and that's embarrassing," she joked of the crowd's standing ovation before launching into another of the delightful, genuine speeches she's been consistently giving this award season.
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Quentin Tarantino, Best Original Screenplay, Django Unchained
Putting aside the fact that Tarantino essentially thanked himself for casting his movie so well — "I want to thank the actors for what they've done when it comes to my script. If people are knowing about my movies 40 or 50 years from now, it's going to be because of the characters I've created. And I've really only got one chance to get it right. I have to cast the right people to make those characters come alive and hopefully live for a long time. And boy, this time, did I do it." — things got especially weird when he got played off, started to leave the stage, but decided he wasn't actually done after all.
Follow Jean on Twitter @hijean
[PHOTO CREDIT: Robyn Beck/AFP/Getty Images]
Oscars 2013 Special Coverage
Oscars 2013 Best Dressed: PICS!
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Last year the Oscars was, well, it was something. Coming off the Anne Hathaway and James Franco hosting debacle, we had undead marionette Billy Crystal emceeing the ceremony, doing his signature medley of all the Best Picture nominees as soon as the red carpet pre-show wrapped. That was about it for musical performances, other than the "In Memoriam" reel and some other crazy A. R. Rahman thing that no one really wanted.
That's because there were almost no Best Original Song nominees last year, and neither one was performed. Well, the category is back in full swing, and host Seth McFarlane — who has more jazz hands than a dance school in West Topeka — is sure to do some sort of bombastic production number. Oh, and there's going to be an ode to movie musicals too, featuring Catherine Zeta-Jones, Jennifer Hudson, Anne Hathaway, and the rest of the We Won an Oscar for Best Supporting Actress by Singing in a Musical Club.
Musicals numbers are back, so let's take this time to look at the best and worst (and a couple of so-good-they're-bad and so-bad-they're-good) from awards shows past.
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Follow Brian Moylan on Twitter @BrianJMoylan
[Photo Credit: AP Photo]
BEST
Beyoncé, Jennifer Hudson, and Anika Noni Rose sing "Love You I Do," "Listen," and "Patience" from Dreamgirls
It's not often that you get this many vocal powerhouses on stage at one time, so when you do, it's best to make the most of it. This 2008 clip (sorry the quality is so crappy, but someone is trying to keep this off YouTube) will go down in Oscar History, even if J Hud was the only one to walk away with the trophy.
Next: The Worst Oscar Debacle of All Time
WORST
Snow White and Robe Lowe sing some ungodly creation.
This is the Platonic ideal of an awful Oscar opening number. In 1989, Eileen Bowman played the animated heroine in an odyssey that included dancing stars, Merv Griffin, and a scandal-plauged Lowe singing strange tunes with the words all jumbled around. It's a travesty and you can't take your eyes away. For a full recounting of the whole incident, check out this amazing article.
Next: The King of Pop Gets Mousey
BEST
Michael Jackson sings "Ben" from Ben
Look past the cheesy '70s set and the awful glittery jump suit. Forget that this is a song about a man who is in love with his pet rat. When all that goes away, we're left with the pristine quality of Michael Jackson's voice before he messed it up with years of drugs and before he messed up his face with more plastic surgery than a Real Housewives of Everywhere reunion. This is one of those instances where talent gets past all of that, and we still love it.
Next: Oscar's Worst Swan Song
WORST
Bjork singing "I've Seen It All" from Dancer in the Dark
I have no problem with the swan dress. In fact, I kind of love that Bjork opted to wear something so different and daring that we still talk about it 12 years later. What I can't abide is her squawking around the stage and stamping her feet and singing this weirdly-cyclical, boring song. I know she can do so much better, and I'm sure most of the audience at home was as befuddled by the performance as they were the attire.
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BEST
Madonna singing "Sooner of Later" from Dick Tracy
Let's face it — it's best that Madonna never win an Oscar for acting. Really, we don't need to give her one more reason to make another movie. But as far as performing at the Oscars go, she is a champion. This is how you can captivate an audience while standing practically still in the middle of a stage. This is Madonna at the height of her fame and prowess in 1991, singing a beautiful Steven Sondheim song that won the Oscar later that night. To prove Madge is Oscar gold, check out her second performance of "You Must Love Me," from Evita. Not as good of a song, but still a top-notch performance.
Next: Why Actresses Shouldn't Sing
WORST
Gwyneth Paltrow singing "Coming Home" from Country Strong
Gwyneth Paltrow thinks that everything about her life is great, including her singing ability. She is often wrong.
Next: How Do You Feel About Celine Dion?
BEST/WORST
Celine Dion singing "My Heart Will Go On" from Titanic
Yes, this is an iconic song. Yes, Celine Dion is a very proficent singer. Yes, in 1997 Ms. Dion was everything and her song won the Oscar. But why do I hate this so much? Why do so many people think that she sounds like a bleating goat standing there on stage with a trillion-dollar diamond (the same one from the movie) on her turtlenecked frame (you can take the girl out of Canada but...)? This is one of those numbers that you either love or hate. I fall in the latter camp.
Next: What the Heck?!
BEST
Pilobolus doing God knows what
This isn't exactly a musical number, but there's dancing, so I'm counting it. The members of this dance troupe figured out how to turn their bodies into iconic shapes from the year's movies. I still wonder just how they achieved this fate today. Amazing. Also amazing: Ellen DeGeneres hosted the Oscars. Remember that?
Next: A True Crash and Burn
WORST
Kathleen Bird York singing "In the Deep" from Crash
2003 was a crappy year at the Oscars. Not only did Crash steal a statue from the far superior Brokeback Mountain, we also had to endure this abomination of an New Age song from the film that was nominated for Best Original Song. What do a burning car, slow-motion dancers, and enough dry ice to power every production of Phantom of the Opera in the entire universe have in common? I hate them all.
Next: You Won't Believe Your Eyes
BEST/WORST
Sheena Easton singing "For Your Eyes Only" from For Your Eyes Only
This year, one of the highlights of the show will be Adele getting up to sing "Skyfall" from the James Bond flick of the same name. She will wear a tasteful dress and belt for the rafters and everyone will applaud. It will look nothing like this other Bond number from 1981, which features 007 driving on stage and kicking the asses of a bunch of dancing ninjas while his car shoots a laser beams. And can we talk about Sheena's hair which is straight out of one of the worst Nagel paintings I've ever seen. This this is so incredibly awful. Isn't it amazing!? Even with the crappy video quality, you still can't look away. They just don't make camp like they used to. Sure Adele will be nice, but it's not going to be anything like this.
Next: How Not to Do an Opening Number
WORST
Hugh Jackman's Opening Number
I love Hugh Jackman. Of all the celebrities in Hollywood, I would like to see his huge ackman over anyone else's. However, his 2008 stint hosting was marred by this rather dreadful opening number. The joke was that the recession made him scale everything down, which is a cute gag but doesn't work for the whole eight minutes. Combine that with Anne Hathaway giving one of those falsely modest performances that make people hate her and, well, I couldn't even watch it all the way through. However, the joke about not seeing The Reader almost makes the whole thing worthwhile.
Next: NPH to the Rescue
BEST
Neil Patrick Harris' Opening Number
Sorry, Hugh, this is how you bring in the show. NPH, who isn't even really a movie star, is better at the awards show game than just about anyone else. He sings a quick song, does some great dance moves, gets us ready for the show with a big extravaganza and then hands it over to the hosts. Just simply distilled perfection. Leave it to a gay to know how to kick off a show. (I'm sure he's not the one who had the Best Actor nominees come out on stage for one full minute of thunderous applause that they did not need.)
Next: Drowning in a Sea of Awful
WORST
"Under the Sea" and "Kiss the Girl" from The Little Mermaid
As soon as you heard that the dancers were choreographed by Paula Abdul, you knew this thing would be a mess. What's so awful about Samuel E. Wright's performance of these two nominated songs ("Under the Sea" won) is that he just stands in the middle of the blank stage for the first one, and for the second one it's like a sea anemone was stuffed with glitter and then exploded. There is an octopus chandelier, tap dancing scuba divers, and more midriffs than all of Britney Spears' early videos combined. The funny part is this looks like an even worse version of Disney's infamous Broadway version of the show, which was also a giant bomb.
Next: This One's a Real Beauty
BEST
"Belle" and "Be Our Guest" from Beauty &amp; The Beast
Looks like Disney learned a lot two years after The Little Mermaid, because this two-song medley was much better. The first song is busy and costumey, sort of like the wonderful Broadway version of the show, but then it dissolves into Jerry Orbach (RIP) and some chorus girls doing a top-notch, grounded version of the crowd pleasing "Be Our Guest." Still this wasn't enough to beat the title track for the Oscar, which had a snoozer of a performance (Angela Landsbury can't do a kick line like she used to), but is probably a better song.
Next: Mafia Assassination
WORST
Three 6 Mafia singing "Hard Out Here for a Pimp" from Hustle and Flow
This isn't a bad song, and is, to its credit, the only hip-hop song to win an Oscar. It's just, well, the Academy ain't got no swag. Sure, this bootleg living room is supposed to be reminiscent of the movie, but it looks like a cast-off from an old season of Roseanne. Plus, Taraji P. Henson in a full-length gown while the rest of the guys wear street clothes makes the whole thing feel just... off. And they can't even say "bitches"! They had to change it to "witches," which is the silliest thing to happen since The Doors couldn't sing "Girl, we couldn't get much higher" on The Ed Sullivan Show.
Next: Once Upon a Time
BEST
Glen Hansard and Market Iglová singing "Falling Slowly" from Once
Plain and simple: how can you not love everything about this?
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The historical epic will go head-to-head for Best Motion Picture (Drama) with Argo, Django Unchained, Zero Dark Thirty and Life of Pi.
Meanwhile, Daniel Day-Lewis, who portrays former U.S. President Abraham Lincoln in the movie, scored a mention for Best Performance By An Actor In A Motion Picture (Drama), while Sally Field and Tommy Lee Jones picked up nods for their supporting roles and Steven Spielberg landed a nomination for Best Director.
Lincoln is also nominated in categories for Best Original Screenplay and Best Original Score, taking the tally to seven, while Ben Affleck's thriller Argo and Quentin Tarantino's drama Django Unchained trail with five nominations each.
In the TV categories, some of the small screen's biggest names are going head-to-head for Best Performance by an Actor in a Television Series - Drama. Boardwalk Empire's Steve Buscemi will take on Breaking Bad's Bryan Cranston, Homeland star Damian Lewis, Mad Men's Jon Hamm and Jeff Daniels of The Newsroom.
All the actors' shows will also do battle in the category for Best Television Series - Drama, while there are also nods for Lewis' Homeland co-stars Claire Danes (Best Performance by an Actress in a Television Series - Drama) and Mandy Patinkin (Actor In A Supporting Role In A Series).
Hit British period drama Downton Abbey has two nominations, for Dame Maggie Smith and Michelle Dockery, while singer Adele is nominated for her hit James Bond track Skyfall, which will compete in the Best Original Song category.
The 70th Annual Golden Globe Awards, co-hosted by Tina Fey and Amy Poehler, will take place on 13 January (13) in Los Angeles.
The nominations were announced by actors Ed Helms, Megan Fox, and Jessica Alba in Beverly Hills, California on Thursday (13Dec12) and the complete list is as follows:
Best Motion Picture - Drama
Argo
Django Unchained
Life of Pi
Lincoln
Zero Dark Thirty
Best Performance By An Actress In A Motion Picture - Drama
Jessica Chastain - Zero Dark Thirty
Marion Cotillard - Rust And Bone
Helen Mirren - Hitchcock
Naomi Watts - The Impossible
Rachel Weisz - The Deep Blue Sea
Best Performance By An Actor In A Motion Picture - Drama
Daniel Day-Lewis - Lincoln
Richard Gere - Arbitrage
John Hawkes - The Sessions
Joaquin Phoenix -The Master
Denzel Washington - Flight
Best Motion Picture - Comedy Or Musical
The Best Exotic Marigold Hotel
Les Miserables
Moonrise Kingdom
Salmon Fishing in the Yemen
Silver Linings Playbook
Best Performance By An Actress In A Motion Picture - Comedy Or Musical
Emily Blunt - Salmon Fishing in the Yemen
Judi Dench - The Best Exotic Marigold Hotel
Jennifer Lawrence - Silver Linings Playbook
Maggie Smith - Quartet
Meryl Streep - Hope Springs
Best Performance By An Actor In A Motion Picture - Comedy Or Musical
Jack Black - Bernie
Bradley Cooper - Silver Linings Playbook
Hugh Jackman - Les Miserables
Ewan McGregor - Salmon Fishing in the Yemen
Bill Murray - Hyde Park on Hudson
Best Performance By An Actress In A Supporting Role In A Motion Picture
Amy Adams - The Master
Sally Field - Lincoln
Anne Hathaway - Les Miserables
Helen Hunt - The Sessions
Nicole Kidman - The Paperboy
Best Performance By An Actor In A Supporting Role In A Motion Picture
Alan Arkin - Argo
Leonardo DiCaprio - Django Unchained
Philip Seymour Hoffman - The Master
Tommy Lee Jones - Lincoln
Christoph Waltz - Django Unchained
Best Director - Motion Picture
Ben Affleck - Argo
Kathryn Bigelow - Zero Dark Thirty
Ang Lee - Life of Pi
Steven Spielberg - Lincoln
Quentin Tarantino - Django Unchained
Best Screenplay - Motion Picture
Mark Boal - Zero Dark Thirty
Tony Kushner - Lincoln
David O. Russell - Silver Linings Playbook
Quentin Tarantino - Django Unchained
Chris Terrio - Argo
Best Original Song - Motion Picture
For You - Act of Valor
Not Running Anymore - Stand Up Guys
Safe and Sounds - The Hunger Games
Skyfall - Skyfall
Suddenly - Les Miserables
Best Original Score - Motion Picture
Life of Pi
Argo
Anna Karenina
Cloud Atlas
Lincoln
Best Animated Film
Brave
Frankenweenie
Hotel Transylvania
Rise of Guardians
Wreck-It Ralph
Best Foreign Language Film
Amour
A Royal Affair
The Intouchables
Kon-Tiki
Rust and Bone
Best Television Series - Drama
Breaking Bad
Boardwalk Empire
Downton Abbey
Homeland
The Newsroom
Best Television Series - Musical or Comedy
The Big Bang Theory
Episodes
Girls
Modern Family
Smash
Best Mini-Series or Motion Picture Made for Television
Game Change
The Girl
Hatfields &amp; McCoys
The Hour
Political Animals
Best Performance by an Actor in a Television Series - Drama
Steve Buscemi - Boardwalk Empire
Bryan Cranston - Breaking Bad
Jeff Daniels - The Newsroom
Jon Hamm - Mad Men
Damian Lewis - Homeland
Best Performance by an Actress in a Television Series - Drama
Connie Britton - Nashville
Glenn Close - Damages
Claire Danes - Homeland
Michelle Dockery - Downton Abbey
Julianna Margulies - The Good Wife
Best Performance by an Actor in a Television Series - Musical or Comedy
Alec Baldwin - 30 Rock
Don Cheadle - House of Lies
Matt LeBlanc - Episodes
Louis C.K. - Louie
Jim Parsons - The Big Bang Theory
Best Performance by an Actress in a Television Series - Musical or Comedy
Zooey Deschanel - The New Girl
Julia Louis-Dreyfus - Veep
Lena Dunham - Girls
Tina Fey - 30 Rock
Amy Poehler - Parks and Recreation
Best Performance by an Actor in a Mini-Series or a Motion Picture Made for Television
Kevin Costner - Hatfields &amp; McCoys
Benedict Cumberbatch - Sherlock
Woody Harrelson - Game Change
Toby Jones - The Girl
Clive Owen - Hemingway &amp; Gellhorn
Best Performance by an Actress in a Mini-Series or a Motion Picture Made for Television
Nicole Kidman - Hemingway &amp; Gellhorn
Jessica Lange - American Horror Story
Sienna Miller - The Girl
Julianne Moore - Game Change
Sigourney Weaver - Political Animals
Best Performance by an Actor in a Supporting Role in a Series, Mini-Series or Motion Picture Made for Television
Max Greenfield - New Girl
Ed Harris - Game Change
Danny Huston - Magic City
Mandy Patinkin - Homeland
Eric Stonestreet - Modern Family
Best Performance by an Actress in a Supporting Role in a Series, Mini-Series or Motion Picture Made for Television
Hayden Panettiere - Nashville
Archie Panjabi - The Good Wife
Maggie Smith - Downton Abbey
Sofia Vergara - Modern Family
Sarah Paulson - Game Change

Made first amateur film as a child; movie was set during Cromwell's reign

Formed Hudson Film; shared offices with Alan Parker

Teamed with Ridley Scott to make TV commercials

Last film for nearly a decade, "Lost Angels"

Worked at a London advertising agency as head of its casting department

Feature directorial debut, "Chariots of Fire"; film earned seven Oscar nominations including one for Best Director; won four including Best Picture; also initial screen collaboration with David Puttnam

Summary

While he has not proven to be a prolific filmmaker, Hugh Hudson has directed a handful of fascinating and well-crafted movies, nearly all of which center on the theme of search for identity. On various levels, his early films play out as veiled autobiography--the events and characters may not line up exactly, but the overarching arc of the story reflects his concerns and mirrors his life.

Name

Role

Comments

Education

Name

Eton College

Notes

"In the early forties it was rare for a child to have divorced parents [even considered scandalous]. Sadly, it is now commonplace. So though 'Lost Angels' is set in the suburbia of Southern California, it might well be Paris, Madrid or London." --Hugh Hudson